Beneath the white surface, the subject is hidden, almost sheltered from direct gaze. The unusual setup, with the presumed works positioned beneath the surface, destabilizes our expectations and invites us to reconsider our
relationship with the exhibition space. In this act of concealment, the theme of the sculpture, which usually dominates the visible space above the base, is moved to an inverse dimension, below the surface. The white surface
transforms into a sort of curtain that, instead of revealing, hides, pushing the observer to question the existence of what is withdrawn from sight. This overturning of traditional sculptural presentation norms invites us to
consider the work not only as a visual entity but as a dynamic process of discovery and interaction with the space and its boundaries.
These works posit a dialogue between the overt and covert, between the meticulously curated and the uncontrollably organic, compelling the viewer to question the layers of reality that compose our visual and perceptual field.